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AfterImage (sometimes spelled as After Image) is a Filipino rock band formed in 1987,[2] best known for their songs "Habang May Buhay", "Next in Line", and "Mangarap Ka". They disbanded in 1997 and became active again in 2008 after they reunited and released their fourth studio album. After disbanding in 1997, Wency Cornejo, the band's vocalist, pursued a solo career.

Key Information

In January 1992, the band signed with Dyna Records, The band's first album, entitled Touch the Sun, was released in July 1992.[3][4] Among the eight songs that the album contained, four were released as singles: "Next in Line", "Bai (Sa Langit ang Ating Tagpuan)", "Only You", and "Pagtawid". The title of the album, which was the concluding part of the lyric to "Next in Line", was said[by whom?] to have just been a spontaneous utterance of a phrase which Cornejo made during the recording session for the said song. [5]

History

[edit]

The band was composed of five members: Bobit Uson on bass guitar, Chuck Isidro on lead guitar, Rogie Callejo on drums, Arnold Cabalza on keyboards and Wency Cornejo on vocals. Francis Reyes was the former guitarist of the band before Chuck Isidro took his role.

In 1994 at the height of the first band craze in the Philippine music scene, AfterImage released their second album titled Tag-Ulan, Tag-Araw. The album's name was taken from two singles from the album. "Tag-ulan", the album's carrier single, topped various charts in the Philippines and was awarded a Gold Record Award, and later the follow-up single "Mangarap Ka" also became a huge hit for the band. They also won the first NU Rock Award for Artist of the Year in the same year.[6][7] At the 1995 Awit Awards the album Tag-Ulan, Tag-Araw was named Album of the Year.[6] A few months after winning the awards, Niño Mesina became the band's newest bassist leading Bobit Uson to play guitar alongside Chuck Isidro.

In 1996, the band released their 3rd album "Bagong Araw".[8][9]

In 1997, AfterImage disbanded due to management conflicts. After 11 years of disbandment, the band reunited in 2008 for their new album, Our Place Under the Sun.[10] from Viva Records, 12 years since their last album in 1996 from Dyna Records.

Members

[edit]

Current members

[edit]
  • Wency Cornejo – lead vocals[11]
  • Chuck Isidro – lead and rhythm guitar
  • Bobit Uson – bass guitar
  • Rogie Callejo – drums
  • Arnold Cabalza – keyboards, backing vocals

Former members

[edit]

Discography

[edit]

Studio albums

[edit]
  • Touch the Sun (1992)
  • Tag-Ulan, Tag-Araw (1994)
  • Bagong Araw (1996)
  • Our Place Under the Sun (2008)

Compilation albums

[edit]
  • Lites (1995)
  • Greatest Hits (1996)

Singles

[edit]
  • "Next in Line" (1992)[12]
  • "Bai" (1992)[12]
  • "Believe"
  • "Brightest Day"
  • "Castaway"
  • "Defenseless"
  • "Extro"
  • "Finding it Hard to Breathe"
  • "Forevermore" (1994)
  • "Habang Ako Ay Narito" (While I am Here)
  • "Habang May Buhay" (While There's Life)
  • "Lakas" (Strength)
  • "Mangarap Ka" (Dream)
  • "More Than Life"
  • "Musikero" (Musician)
  • "Only You"
  • "Our Place Under the Sun"
  • "Pagkat Ika'y Narito" (Because You're Here)
  • "Pagtawid" (Crossing)
  • "Panahon" (Time)
  • "Patalim" (Blade)
  • "Standing By Your Side"
  • "Tag-Araw" (Summer Season)
  • "Tag-Ulan" (Rainy Season)
  • "Without You"
  • "You Made Me Believe"

Post-AfterImage

[edit]

Former AfterImage lead singer Wency Cornejo went a solo career after the disbandment of the pop rock band in 1997. Aside from being a singer, he was also a former TV host for the youth-oriented lifestyle documentary magazine program "Tipong Pinoy" starring with his co-host, the late Susan Calo-Medina. Cornejo still performing mostly in music bars & restaurants. Chuck Isidro went on to join the music group 6cyclemind.

Awards

[edit]
Year Award giving body Category Nominated work Results
1992 Catholic Mass Media Award Best Rock Recording "Bai" Won[4]
DM 95.5 FM 1st Pinoy Music Awards Bagong Himig Kakaibang Tinig Award "Next in Line" Won[13]
1993 6th Awit Awards Best Performance a New Duo or Group of Recording Artists "Next in Line" Won[14]
1994 NU Rock Awards Artist of the Year — Won[15]
1995 8th Awit Awards Album of the Year "Tag Araw, Tag Ulan" Won[14]
NU Rock Awards Keyboardist of the Year (for Arnold Cabalza) Won[16]
Katha Music Awards Album of the Year "Tag Araw, Tag Ulan" Won[16]
Best Rock Album Tag Araw, Tag Ulan Won[16]
Best Rock Group Performance — Won[16]
Best Rock Song "Habang May Buhay" Won[16]
Song of the Year "Habang May Buhay" Won[16]
1996 NU Rock Awards Keyboardist of the Year (for Arnold Cabalza) Won[17]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

AfterImage

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from Grokipedia
An is a visual in which an continues to appear in one's field of vision after exposure to the original stimulus has ended, typically lasting from seconds to minutes. This arises from the adaptation or overstimulation of the eye's photoreceptor cells, such as and cones in the , leading to a temporary imbalance in neural signaling. Afterimages are classified into two primary types: positive and negative. Positive afterimages maintain the same colors and as the original stimulus and are often generated through cortical processes in the rather than solely retinal mechanisms. In contrast, negative afterimages feature and inverted lightness levels to the original, resulting from the fatigue of photoreceptors after prolonged viewing of a bright or high-contrast image. These retinal-based effects do not transfer between eyes, confirming their origin at the level of the . The physiological basis of afterimages involves the chemical changes in photopigments like , which becomes bleached by intense light and requires time to regenerate, causing the persistent perception. While typically benign and a normal aspect of human vision, unusually prolonged or frequent afterimages can signal underlying conditions such as , often linked to neurological disruptions in visual processing areas of the . Research continues to explore the interplay between retinal and cortical contributions to these illusions, highlighting their role in understanding .

Overview and History

Definition and Characteristics

An is a visual illusion in which a representation of an original stimulus persists or a complementary image emerges in the after the stimulus itself has ceased, resulting from the or overstimulation of cells. This occurs universally in healthy human vision as a normal response to intense or prolonged visual input, but prolonged afterimages lasting beyond typical durations may signal underlying medical conditions such as . Key characteristics of afterimages include their transient nature, typically enduring from a few seconds to several minutes depending on the stimulus intensity and exposure duration, and their tendency to manifest most clearly against a uniform or blank background, such as a white wall. In negative afterimages, which are the most common form, colors appear inverted or complementary to the original stimulus due to selective in the photoreceptors. For instance, staring at a bright source may produce a lingering dark spot, while fixating on a colored flag, such as the American flag, can yield an afterimage with inverted hues—red becoming , blue turning yellow, and so on—upon shifting gaze to a neutral surface. At its core, the process involves fatigue of retinal photoreceptors, including cones sensitive to specific wavelengths and for low-light detection, which disrupts the balance in the visual system's opponent color channels—red-green, blue-yellow, and black-white—leading to the illusory perception. This adaptation reflects the retina's mechanism for normalizing visual input, though higher neural processes may contribute to the conscious experience of the illusion.

Historical Development

The phenomenon of afterimages dates back to ancient observations of visual persistence. , in his Parva Naturalia, provided the earliest recorded descriptions of afterimages, noting their occurrence after prolonged fixation on bright stimuli and linking them to the persistence of visual sensations beyond the removal of the exciting cause. These accounts laid foundational groundwork for understanding afterimages as a form of visual illusion arising from sensory adaptation. In the early 18th century, Newton's Opticks (1704) advanced this by documenting color afterimages in optical experiments, observing that spectral colors produced lingering impressions on the after the prism or light source was withdrawn, contributing to early insights into chromatic persistence. The 19th century marked significant experimental progress in dissecting afterimage mechanisms. Jan Evangelista Purkinje's 1825 dissertation detailed subjective visual phenomena, including the —where color perceptions shift toward blue-green in low light—and extensive observations of afterimage color changes and durations under varying conditions. Building on this, Hermann von Helmholtz's Handbook of Physiological Optics (1867) formalized adaptation theory, positing that afterimages result from temporary fatigue or exhaustion of elements sensitive to specific colors or intensities, providing a physiological framework for their negative appearance. Early 20th-century developments integrated afterimages into broader perceptual theories. Ewald Hering's , introduced in 1878 and expanded through physiological studies in the 1960s, explained afterimages as imbalances in antagonistic color channels (red-green, blue-yellow, black-white), accounting for their complementary hues without delving into neural details here. In the 1920s and 1930s, Gestalt psychologists such as and incorporated afterimages into discussions of holistic perception, emphasizing the brain's active structuring of visual experience over elemental sensations. Mid-century psychophysical experiments, including those measuring afterimage latency and duration in monocular and binocular conditions (e.g., 1951 studies), quantified variability in persistence times, often ranging from seconds to minutes depending on stimulus intensity. Later milestones included technological advancements in the 1960s, when psychophysics laboratories first used photographic techniques to induce and document controlled afterimages, enabling precise replication of negative patterns without direct observer fixation. By the post-2000 era, functional magnetic resonance imaging (fMRI) studies confirmed cortical substrates, revealing retinotopic activation in primary visual cortex (V1) that tracks perceived rather than retinal afterimage size, alongside color processing in area V4. Recent research as of 2025 has further elucidated the neural mechanisms, showing that afterimages involve distributed brain processes beyond retinal adaptation, including non-opponent color representations and correlations with visual imagery vividness. These neuroimaging efforts shifted focus from purely retinal explanations toward distributed neural dynamics.

Physiological Mechanisms

Neural and Retinal Processes

At the retinal level, afterimages emerge from the of photoreceptor cells, where prolonged exposure to a visual stimulus causes selective in types. For instance, overstimulation of long-wavelength-sensitive (L-) by diminishes their signaling, leading to a compensatory green afterimage from relatively heightened medium-wavelength-sensitive (M-) activity when viewing a neutral field. In low-light environments, rod photoreceptors contribute similarly through temporary saturation; a brief intense flash can saturate , rendering subsequent stimuli invisible until the afterimage decays and sensitivity recovers. This adaptation aligns with the , formulated by Ewald Hering in 1878, which describes via three paired antagonistic mechanisms: red versus green, blue versus yellow, and black versus white. Fatigue in one channel's pole during stimulation inhibits its opponent, producing a upon offset that manifests as a complementary afterimage, such as a from cone imbalance. Adapted retinal signals pass through the (LGN), where parvocellular pathways relay imbalanced opponent signals with adaptation time constants of approximately 17–21 seconds, sustaining the afterimage's neural representation. Cortical involvement begins in the primary visual cortex (V1), where deep layers process persistent edge and contour information via feedback mechanisms, followed by area V4 for chromatic processing; in V1, prolonged activity peaks 7–11 seconds after stimulus removal. As of 2025, research has identified layer-specific mechanisms in V1 and suggested that color afterimages may not strictly follow opponent-process predictions. Afterimage duration diminishes through neural recovery, modeled as an exponential decay: I(t)=I0e−t/τI(t) = I_0 e^{-t/\tau}, where I(t)I(t) is intensity at time tt, I0I_0 is initial intensity, and τ≈10\tau \approx 10–$30$ seconds reflects cone recovery timescales in parvocellular circuits.

Influencing Factors

The properties of the inducing stimulus significantly influence the occurrence, intensity, and duration of afterimages. Brighter stimuli generally produce stronger and longer-lasting afterimages due to greater photopigment bleaching in the retina. Higher contrast between the stimulus and its background enhances afterimage vividness, as it amplifies the differential adaptation of opponent color channels. The duration of exposure plays a key role, with afterimage strength increasing with adaptation time up to an optimal range of approximately 10-30 seconds, beyond which diminishing returns or saturation may occur; for instance, exposures of 20-30 seconds are commonly used in experiments to reliably induce measurable afterimages. Larger stimulus fields tend to produce afterimages with greater spatial spread, as they engage more retinal area and lead to broader adaptation effects. Environmental factors also modulate afterimages, often by altering the state of retinal . Dark adaptation, achieved through prior exposure to low ambient lighting, prolongs afterimage duration by increasing retinal sensitivity and slowing recovery from photopigment bleaching. Eye movements during or after adaptation can stabilize or distort afterimage perception; for example, saccades may cause trailing effects or fragmentation, while steady fixation preserves clarity. Blinks, conversely, can slightly extend afterimage visibility under certain lighting conditions by interrupting adaptation recovery. Individual differences contribute to variability in afterimage characteristics, reflecting physiological and health-related factors. Age affects persistence, with older adults exhibiting longer afterimage durations compared to younger individuals, possibly due to slower neural recovery processes despite age-related photoreceptor decline. Certain pharmacological agents, such as antidepressants like , can prolong afterimages by inducing , a condition of enhanced visual perseveration. Pathological conditions like increase susceptibility to afterimages, often manifesting as with heightened sensitivity to visual stimuli and impaired . In experimental contexts, variables like specificity allow targeted investigation of mechanisms, as shorter wavelengths (e.g., blue light around 455 nm) induce faster cone fatigue in short-wavelength-sensitive mechanisms, leading to quicker onset but potentially shorter duration compared to longer wavelengths. Measurement techniques, such as perimetry, quantify size and extent by mapping perceived boundaries against a uniform field, providing objective metrics for clinical and research applications. These factors interact with underlying processes to shape phenomenology.

Types of Afterimages

Negative Afterimages

Negative afterimages occur when the perceives or inverted brightness levels following the removal of a stimulus, such as a pattern yielding a or green afterimage and bright areas appearing dark. This inversion arises from the or adaptation of specific photoreceptors, leading to a temporary imbalance where the overstimulated channels become less responsive, causing the opposite response to dominate. For instance, prolonged fixation on a bright region results in a dark afterimage due to the reversal in processing. The mechanism involves a strong imbalance in cone-opponent processes, where the three types of cone cells (sensitive to long-, medium-, and short-wavelength light) adapt unevenly, aligning with the of that posits antagonistic pairs like red-green and blue-yellow. A classic demonstration is staring at the American flag for about 30-60 seconds, after which viewing a white surface produces an afterimage with stripes, a field, and stars and stripes, reflecting the of the original red, blue, and white elements. This effect highlights how adaptation in the L-M (red-green) and S-(L+M) (blue-yellow) opponent channels inverts the perceived hues. These afterimages peak in intensity immediately after stimulus offset and are best observed against a mid-gray background, which minimizes interference from surrounding luminance and enhances contrast. They typically last 5-30 seconds, fading as the photoreceptors recover sensitivity, though duration can vary with adaptation strength and individual factors. Historically, Johann Wolfgang von Goethe explored negative afterimages in his 1810 Theory of Colours, using color wheel experiments to demonstrate physiological color oppositions, such as the emergence of complementary hues after fixating on saturated colors.

Positive Afterimages

Positive afterimages are visual sensations that persist briefly after the removal of a stimulating source, retaining the same hue, polarity, and general as the original stimulus, though they appear fainter and less saturated. For instance, fixating on a source may produce a lingering red spot in the upon gaze shift. These afterimages arise from retinal persistence following , such as the partial recovery of fatigued photoreceptor cells (cones and ), but are often modified by cortical processes in the , which can contribute to their generation, particularly for global or filled-in types. Rod-cone interactions also contribute, particularly in mesopic (low-) conditions where recover more slowly than cones, prolonging the perception after bright exposure. They commonly occur when transitioning from a bright stimulus to a darker environment, such as the lingering image from a beam or the glow of a lit viewed in near-darkness. The duration of positive afterimages is typically brief, often less than a second, but can extend to a few seconds depending on factors like stimulus , exposure time, and ambient lighting, with higher intensity leading to longer persistence. Observation is enhanced by slowly moving the eyes or , which can briefly revive the by shifting retinal adaptation. In rare variants, such as those involving Troxler fading in , prolonged fixation on a stabilized stimulus can lead to fading followed by positive-like persistence upon , due to in retinal ganglion cells. Influencing factors like ambient lighting can modulate intensity, with darker surrounds prolonging visibility.

Afterimages on Empty Backgrounds

When projected onto an empty or uniform background, such as a blank or gray field, afterimages often appear to float detached from any surface or expand beyond their original dimensions due to the absence of spatial anchors and contextual cues. This lack of surrounding features deprives the of reference points, leading to a heightened of illusoriness and increased vividness as the interprets the persistent retinal signal without integration into a structured scene. The perceptual effects on empty backgrounds include apparent spontaneous movement or growth of , as the absence of stabilizing elements allows minor eye movements or neural processes to distort its perceived stability and scale. For instance, after fixating on a spinning Benham's top—a black-and-white disk that induces illusory colors through temporal modulation—these colors can persist as dynamic, moving afterimages when viewed against a blank field, enhancing the sense of motion without external stimuli. These effects are mechanistically nuanced by interactions with the Troxler effect, where prolonged fixation on a uniform field causes peripheral fading that can reverse, momentarily amplifying the afterimage's salience and preventing its dissipation. Studies demonstrate that afterimages projected onto empty fields are perceived as larger than on textured backgrounds, attributable to the visual system's size-distance scaling, which interprets the unconstrained projection as occurring at greater depth. In psychophysical research, afterimages on empty backgrounds have been employed since Joseph Plateau's 1830s experiments on the persistence of visual impressions, which quantified retention durations to explore motion illusions. Contemporary investigations utilize simulations to isolate these effects, presenting controlled uniform fields that enable precise measurement of dynamics without environmental interference.

In Vision Testing and Science

Afterimages serve as valuable tools in diagnostic applications for assessing visual function. In screening for , negative afterimages have been employed to differentiate between color-weak and fully individuals by measuring differences in their duration and intensity, providing a more reliable classification than traditional tests like Ishihara plates. This approach leverages the of , where inverted afterimages reveal anomalies in color adaptation. In vision research, afterimages are used to quantify and visual processing depth in laboratory settings. For instance, studies in the have shown that afterimage duration correlates with the processing of invisible stimuli, enabling researchers to measure visual responses without relying on conscious . Additionally, afterimage duration has been linked to temporary impairments in , such as recovery times following exposure, where acuity returns within 30 to 60 seconds under dark conditions, aiding in the evaluation of photic effects. Clinically, prolonged afterimages manifest in conditions like , particularly as part of , where individuals with with experience significantly longer afterimage durations—averaging 12.6 seconds compared to 5.5 seconds in healthy controls—indicating potential subcortical or cortical hypersensitivity. In syndrome, afterimages or affect approximately 10% of cases, appearing as persistent echoes of recent visuals superimposed on the environment, distinct from typical CBS hallucinations. Therapeutically, afterimage transfer methods have been applied in for , particularly in cases with eccentric fixation, improving fixation and acuity in children through targeted afterimage exercises. Recent advancements include computational models to analyze afterimage characteristics and dynamics. These tools, influenced by factors like stimulus intensity, support precise quantification in both research and clinical contexts.

In Art, Culture, and Technology

In the realm of visual arts, afterimages play a central role in , a movement that gained prominence in the through the use of geometric patterns to manipulate perception. British artist exemplifies this approach in works like Current (1964), where high-contrast black-and-white stripes create illusory vibrations and persistent afterimages that evoke motion upon prolonged viewing. These effects arise from the retina's response to intense visual stimuli, transforming static canvases into dynamic experiences that challenge viewers' sensory boundaries. Filmmakers have similarly harnessed afterimages and related to enhance narrative flow and emotional impact. Fade-out and dissolve transitions, common since the early , rely on the retina's retention of an for approximately 1/25th of a second, allowing one scene to blend into the next without abrupt discontinuity. This technique, integral to montage , exploits afterimage formation to simulate seamless continuity, as seen in classic films where bright exposures give way to darker frames, leaving ghostly imprints. Culturally, afterimages symbolize lingering impressions in various media, including light-based festivals that foster shared perceptual phenomena. Installations at events like the festival employ synchronized LED projections, enhancing communal immersion. In contemporary LED art post-2010, artists like calibrate installations such as Your Rainbow Panorama (2011) to provoke deliberate afterimages through saturated, directional lighting, blurring the line between object and viewer perception. Technological innovations in AR and VR often address afterimage artifacts to improve user comfort. Pulse-width modulation (PWM) in displays, used for brightness control, can induce flicker-related afterimages, prompting designs that mitigate these via higher frequencies or DC dimming in headsets like those from Meta and Apple. In video games, developers incorporate afterimage effects for immersive illusions, as in titles like Returnal (2021, with updates into 2022), where adaptive lighting and particle systems create trailing visual echoes to heighten tension during fast-paced action. Music visualizers extend this into , syncing pulsating lights and colors to audio waveforms to evoke afterimage-like persistence. Tools like software generate real-time animations that pulse with bass frequencies, inducing residual color overlays in viewers' vision, often used in live performances to amplify sensory .

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